(navigation image)
Home American Libraries | Canadian Libraries | Universal Library | Community Texts | Project Gutenberg | Children's Library | Biodiversity Heritage Library | Additional Collections
Search: Advanced Search
Anonymous User (login or join us)
Upload
See other formats

Full text of "Treasures for Toledo"



%> fe . 















'>' - ; 



" ;,">» j,,, n 









•^•^jr* « ^ 



- J5? 



.' 



( 









■; 




This publication illustrates 66 works of art from almost 
1000 acquired during the past five years. These paint- 
ings, sculptures, and objects are a selection from over 
100 objects shown together in the current special 
exhibition, Treasures for Toledo. 



Two-handled Covered Cup (one of a pair). Blown "Bristol 
Blue" glass with shallow facet cutting and scalloped rim; 
silver-gilt mounts by THOMAS HEMMING (active 1745- 
1781/82). English, 1752-1753. Ht. 12% inches. 68.73. 



Cover: MEINDERT HOBBEMA (1638-1709). Dutch. The 
Windmill Oil on canvas. 37% x 57% inches. Signed lower 
left: M. Hobbema 1664. Ex-collections: Baron jan Gijsbert 
Verstolk van Soelen, The Hague; Lord Overstone, London; 
Baron and Lady Wantage, London; H. E. ten Cate, 
Oldenzaal, The Netherlands. 67.157. 



Opposite Page: Warrior. Earthenware, red and black 
slip decoration. Cypriote(Amathous), first half of theseven- 
th century B.C. 67.131. 




TREASURES FOR TOLEDO 



A great museum remains great only if it continues 
to grow. It is a living organism, not a monument. 
While this growth must be evident in community 
use of the museum, the essence of any growth lies 
in an expansion of the museum's collections. This 
publication records and illustrates the trends of 
growth of Toledo's Museum of Art during the past 
five years. 

Traditionally this Museum has been concerned 
with quality rather than quantity. Within the limit 
of funds available we have attempted to acquire a 
few works of art of high quality rather than a large 
number of objects of average quality. 

Because this past five years has been a period of 
rapidly rising prices and increasing numbers of 
buyers in the art market, it has become of even 
greater importance not only to be selective but to 
acquire art in areas less subject to speculation and 
inflation caused by temporary whims of demand. 
The Museum is a continuing organization and 
therefore should not be subject to fashions in col- 
lecting. What the present director is unable to 
acquire, his successor may more advantageously 
pursue in the future. The foresight of my predeces- 
sors has, for example, made it unnecessary to 
commit large sums for high-priced Impressionist 
paintings; excellent examples were acquired years 
ago at low prices. 

Despite increasing difficulties in finding availa- 
ble works of art of high quality, it has been possible 
to acquire a broad spectrum of examples ranging 
from an Assyrian relief of the 9th century B.C. to 
art of our own day. A major Dutch painting by 
Hobbema, some fine classical objects including an 
important bronze figure, splendid Italian paint- 



ings, a richly varied group of furniture and decora- 
tive arts, a recently identified Baroque bust of 
subtle character, an Indian bronze of great beauty, 
rare French silver, portraits of two great Americans, 
Benjamin Franklin and Commodore Perry, and a 
wide range of examples of glass all attest to the 
Museum's breadth of interest and expansion. 

Of course none of the enrichment of the com- 
munity implicit in this growth of the collections 
would be possible without the generous donors 
who give to the Museum so that art may be en- 
joyed by everyone. It is characteristic of our coun- 
try that art available to all in our museums has 
been provided by private donors rather than by 
governments. 

The growth of Toledo's art collections (and they 
have doubled within the past 20 years) is, to a great 
extent, the result of the foresight of one man and 
his wife, Mr. and Mrs. Edward Drummond Libbey, 
who bequeathed not only their own collections 
but funds to provide continuity of art acquisitions. 
The bequest of these two patrons still provides the 
major source of funds for Toledo's art acquisitions 
today. All works of art illustrated in this publication 
have been acquired from Libbey funds unless 
otherwise specifically designated. 

A new generation of generous donors is becom- 
ing evident however and grateful acknowledge- 
ment of their gifts is made in the following pages. 
This is a healthy and encouraging indication of 
future growth. The art collectors of today must be 
the museum donors of tomorrow if this Museum 
— or any other — is to continue to live, to grow 
and to serve. 

Otto Wittmann, Director 




Winged Deity. Assyrian (Calah), 885-860 B.C. Alabaster. 
Ht. 35Vb inches; length 52^6 inches. 66.7 78. This bas-relief 
shows the Winged Deity holding the palm spathe in the 
ceremony oi fertilizing the date palm. It is from the North- 
west Palace of Ashurnasirpol II. 



Phiale with Kouros handle. Greek colonies, South Italian 
(probably Lokroi). About 500 B.C. Bronze. Bowl, diam. 
TVs inches; handle, length 8\'i inches. 67.130. Vessels of 
this type were probably used for pouring libations at reli- 
gious ceremonies and were later placed in the grave of 
the owner. 





Aphrodite. Creek (Syrian), 3rd to 2nd century B.C. Bronze. 
Ht. 13% inches. 68.72. This representation of the Coddess 
of Love probably once depicted her holding a mirror in 
her left hand. The figure comes from the important collec- 
tion of ancient art formed by Louis de Clercq (1849-1912). 



Bronze Mirror with Cover. Creek, late 5th century B.C. 
Bronze, trace of silver on background. Diam. 5% inches. 
66.777. The underside of the cover is 
kneeling figure of Aphrodite. 



engraved with a 





Kalathos. Earthenware, painted decoration, black figure 
style. Creek (Attica), about 540 B.C. Ht. 4% inches; diam. 
4% inches. 67.7 34. Only four other examples of this Creek 
vase shape are known. Here men are shown dancing. 




Eye-Kylix. Earthenware, black figure style. Perhaps by 
NIKOSTHENES POTTER. Creek (Attica), about 520 B.C. Ht. 
4 inches; diam. 8% inches. 67.135. Busts of Athena and a 
warrior are on either side of the cup between the eyes. 





Young Athlete. Bronze. Style of POLYKLEITOS (active about 450-420 B.C.) Roman (Asia Minor), 
about 140 A.D. Ht. 56% inches. 66.726. This life size figure was made after a Creek Polykleitan 
bronze of about 435 B.C. It was cast sectionally by the lost wax method. 






r^Q$lft v> 





L. to R. Inscribed Beaker. Amber glass, mold blown. Syrian, 
1st century A.D. Ht. 2% inches. 67.6. Perfume Sprinkler. 
Enameled and gilt glass. Syrian, 13th century A.D. Ht. 7% 
inches. Handleless Alabastron. Sand-core glass with feather 
pattern. Egyptian, late 5th-4th century B.C. Ht. 7 2 A inches. 
67.3. Ribbon Bowl. Mold fused spiral thread and poly- 
chrome ribbon glass. Roman (possibly Alexandria or Italy), 
1st century B.C. — 1st century A.D. Ht. 2Va inches. 68.87. 



Head Vase. Mold blown glass. Eastern Mediterranean (per- 
haps Syria), 1st-2nd century A.D. Ht. 4Vi inches. 67.8. 











Cold- Glass Plaque with Christ, St. Peter, and St. Paul. 
Cold leaf between two fused layers of thick transparent 
glass. Roman, probably 4th century A.D. Ht. 2 5 At inches. 
67.72. 



Parvati. Bronze. Indian, Chola Period, about 1,000 A.D. 
Ht. 30%" 69.345. Parvati, the Indian divinity symbolizing 
the fertility of earth, is represented as a benevolent and 
gracious being characteristic of all womanhood. 




The Trinity. English, School of Nottingham, about 1480. 
Polychromed alabaster. 21 x 70% inches. 69.229. This was 
once the central element of an altar. The Dove of the Holy 
Spirit was originally dowelled into one hole above Christ's 
head, and drops of blood, probably made of wood, fell 
from Christ's hands into the cups held by two angels. Two 
donors are represented at the bottom right and left. 




mWm 




Chasse. Cilt copper with champleve enamel. French (Li- 
moges) mid 13th century. Ht. 10% inches; length 10% 
inches. Ex-collections: Debruge-Dumenil, Paris; Prince 
Soltykoff, Paris; Spitzer, Paris. 69.294. "The Entombment 
of Christ" and "The Three Maries at the Tomb" are repre- 
sented on the front. The figure of an apostle is depicted on 
each end. 




Christ Crucified. Cilt copper with clampleve enamel. 
French (Limoges), early 13th century. Ex-collection: Michel 
Boy, Paris. 69.295. This figure was possibly once part of a 
retable. 




LORENZO COSTA (1460-1535). kalian. The Holy Family, about 1510. Tempera, with possibly some 
oil, on poplar panel. 35 x 25% inches. Signed lower right: LAV RENT IVS COSTA F. 65.174. The Holy 
Family was painted for Isabella d'Este, Marchioness of Mantua. In 1598 Pope Clement VIII took the 
town of Ferrara, then under Este rule, into Papal dominions. He subsequently visited Ferrara with 
Mafeo Barberini (later Pope Urban VIII), at which time objects from the Este collections were taken 
back to Rome. The Holy Family was among these. It entered the Barberini collection and subse- 
quently passed, through marriage, to the Corsini Collection, Florence, where it remained until 1964. 



Covered Cup. Italian (Venice), late 16th-early 17th cen- 
tury. Lattimo & lattichinio glass with silver gilt mounts. Ht. 
77% inches. 69.288. The mounts were probably made in 
Nurnberg. 




Cup. German (Nurnberg), late 76th century. Silver-gilt. 
HANS ULRICH (active 1588/89-1599). Ht. 4 3 A inches; diam. 
3Vi inches. One of a pair. Ex-collections: Bartholomaus 
Hegelsheimer, Nurnberg; Lord Kindersley, London. 
65.179A. 






PAOLO CALIARI, called VERONESE (1528-1588). Italian. Christ and the Centurion. About 1570-1580. Oil on canvas. 39% 
x52 7 At inches. 66.729. The centurion kneels before Christ who is accompanied by four apostles. Veronese has presented 
the scene (Matthew 8:5-13, Luke 7:1-10) as a grandiose spectacle. 




jACOPO ROBUSTI, called TINTORETTO (1512-1594). Italian. Noli Me Tangere (Touch Me Not), about 1570-1580. Oil on 
canvas, 82\i x 72Vt, inches. This great composition of the Venetian Renaissance is stylistically related to the important 
cycle of paintings executed by Tintoretto for the upper hall of the Scuola di San Rocco in Venice. Ex-collection: Hugh 
D. Baillie (1777-1866). 






Ewer. French (Saint-Porchaire), about 7550. Earthenware. 
Ht. 8 7 /a inches. Ex-collections: Preaux, Paris; Martin T. 
Smith, London. 69.286. Each piece in the small production 
of the Saint-Porchaire Factory (active 7 525-7 560) is 
unique. 



Covered Tazza (detail at far left). French (Limoges). Enamel. 
JEAN DE COURT (active about 1555-1585). Ht. 9% inches; 
diam. 7% inches. Monogrammed on inside of cup: I.C. 
69.292. Executed in grisaille with flesh tints and bistre and 
gilt highlights on a dark blue ground, this tazza is deco- 
rated on the interior and exterior with scenes from the 
Book of Genesis. 




Saticeboat. French, late 16th century. Earthenware. Ht. 2% 
inches; length 7% inches. Ex-collections: Alexandre Lenoir, 
Paris; Debruge-Dumesnil, Paris; Soltykofi, Paris; Spitzer, 
Paris. 69.285. Meant as a decoration rather than as a utili- 
tarian object, this piece is in the style of BERNARD PALISSY 
(about 1510—1590). 



Marriage Chest (Cassone). Italian, about 1650. Walnut 
carved and partially gilded. Ht. 32 inches; length 72 
inches. 66.120A. This elaborately carved cassone depicts 
the Triumph of Ceres. It is one of a pair executed for the 
marriage of members of the Burgio and Caffarelli families 
of Sicily. Ex-collections: Solomon de Rothschild, Paris; 
W. R. Hearst, San Simeon, California. 






FRANCESCO MOCHI (1580-1654). Italian. Cardinal 
Antonio Barberini, the Younger. About 1629. Marble. Ht. 
32% inches (without base). Ex-collection: Oscar Huld- 
schinsky, Berlin. 65.176. This bust, recently identified as 
by Mochi through the Barberini inventories, has been 
previously attributed to Ciuliano Finelli, Cianlorenzo 
Bernini, and Andrea Bolgi. Mochi was a gifted pupil of 
Cianlorenzo Bernini. Antonio Barberini, nephew of Pope 
Urban VIII, was created Cardinal in 1627 at the age of 20. 




CARLO MARATTI (1625-1713). Italian. Holy Family. About 1670-1680. Oil on canvas. 28 x 27& 
inches. Ex-collections: John Jeffrey Pratt first Marquess of Camden; Earl of Normanton, Somerley, 
Hampshire, England. 67.141 . Known by contemporary artists as Carluccio delle Madonne because 
of his many paintings of that subject, Maratti owed his major commissions to the patronage of Pope 
Alexander VII. 




Covered Porringer with Plate. French (Bordeaux), after 
1718. Silver. Maker's mark on porringer, GABRIEL TILLET, 
FILS (1677-1757). Ht. 4 inches, diameter of plate lOXt 
inches. 69.91. Both plate and porringer bear Bordeaux 
hallmarks. The medallion on the knob of the cover closely 
resembles coins of the Emperor Nero, in keeping with the 
classicizing taste of the Louis XIV period. Gift of Mr. and 
Mrs. Stanley K. Levison, Toledo, Ohio, 1969. 



Draw-leaf Table. French, late 16th — early 17th century. 
Walnut with insets of dark-stained walnut and fruitwood. 
Ht. 32 ] A inches; length 54% inches (extended length 102% 
inches). Gift of Mr. and Mrs. Marvin S. Kobacker, Toledo, 
Ohio, 1969. 69.225. This elegant table shows the influence 
of Flemish prototypes. 





ADRIAEN VAN OSTADE (1610-1685). Dutch. Villagers 
Merrymaking at an- Inn. Oil on panel. 16%x21 7 /& inches. 
Signed on overturned bench: A v. Ostade 1652. Ex-collec- 
tions: T. Emmerson, London; Marquis de Saint Cloud, 
Paris; Charles Sedelmeyer, Paris. 69.339. 




Flugelglas. Clear glass; Eacon de Venise, stem decorated 
with blue glass wings and opaque red, blue, and white 
twists; diamond engraved with a stag hunt. Dutch, 17th 
century. Ht. 77% inches. 66.117. 



< > 




SALOMON VAN RUYSDAEL (1 600/3-1 670). Dutch. River 
Landscape with Ferryboat. Oil on panel. 29% x 41% inches. 
Signed on ferryboat: S. v. Rvysdael 1653. 67.75. 




REMBRANDT VAN RIJN (1606-1669). Christ Crucified Be- 
tween the Two Thieves. About 1640, or later. Etching and 
dry-point. 5%a x 4^6 inches. Gift of William ]. Hitchcock, 
Youngstown, Ohio. 68.92. 




SEBASTIANO RICCI (1659-1734). Italian (Venice). St. Paul Preaching. 1712-1714. Oil on canvas. 73Vi x 62 } A inches. 
66.772. Presumably commissioned by Richard Boyle, 3rd Earl of Burlington, the picture passed from the Burlington 
collection to William Cavendish, 4th Duke of Devonshire. It remained in the collection of the Dukes of Devon- 
shire, Chatsworth, Derbyshire until 1958. 




GIOVANNI ANTONIO PELLEGRINI (767 '5-7 7 '47). Italian (Venice). Sophonisba Receiving the Cup of Poison. 
About 1708-1713. Oil on canvas. 73 } /s x 60% inches. 66.728. The subject is an episode from the history of 
the Roman-Garthaginian wars. Sophonisba, daughter of a Garthaginian general, took poison in preference 
to captivity and to dishonoring her husband. Pellegrini was a student of Sebastiano Ricci. 




Serving Plate with Triumph of Amphitrite. French (Rouen), 
early 18th century. Tin-glazed earthenware. 77 x 14 } A inches. 
Ex-collection: Charles Antig, Paris. 69.280. 



I MM1" , ' I '''" M ' 1 



BENEDETTO BOSCHETTI (active late 18th cen 
Vase with Dionysiac Heads. Rosso antico marble. Ht. 23 
inches; diam. 23 inches. 69.87. This is exact copy on a 
smaller scale of the famous Warwick Vase at Warwick 
Castle, England. The Warwick Vase (H. 5 feet 1 inch), dat- 
ing from the 2nd century A.D., was excavated near 
Hadrian's Villa outside of Rome in about 1769. 





CAMILLO RUSCONI (1658-1728). Italian. Saint Matthew. 
About 1715. Terracotta. Ht. 28 inches. 67.158. Rusconi 
was the foremost sculptor of the generation following 
Gianlorenzo Bernini. This terracotta is a "modello" or final 
model for the large marble sculpture completed in 1718 
for the Tabernacle in San Giovanni in Laterano, Rome. 




Serving Plate. French (Rouen), about 1720. Tin-glazed 
earthenware. Diam. 22%t inches. Ex-collections: A. Polo- 
quin, Paris. 69.279. The arabesque decoration may have 
been inspired by the engravings used as models for gold- 
smiths' decoration of the period. 




Commode. Style of ANDRE CHARLES BOULLE (1642-1732). 
French, about 1725. Walnut, oak, and pine with designs 
in brass on tortoiseshell ground with ormolu mounts and 
marble top. Ht. 34% inches; length 57 inches. 65.167. 
Boulle is known for his elegant marquetry of metals and 
tortoiseshell adorned with beautifully sculptured mounts. 




W-"" 




Pagoda Clock. English, about 1780. Gilt-bronze on lac- 
quered wood stand. Hi. with stand 40 inches. Museum 
purchase, 1968. 68.76. Reflecting the Chinese taste in Eng- 
land during the mid-18th century, the elaborate case lor 
this clock conceals a three-stop organ which plays Oriental 
tunes. Furniture designs by Thomas Chippendale were im- 
portant in promoting a taste for the Orient of which this 
is an example. 



Console Table. English, about 1730-1740. Carved and 
gilded pine with marble top. Ht. 33 7 /a inches; length 85 
inches. 68.02. Based on English baroque architectural 
forms, this massive table is one of a pair formerly in the 

Great Hall at Moor Park, an English country house built 

in the early Georgian period. 





ANNE V ALLAYER-COSTER (1744-1818). French. Still Life with Lobster. 1781. Oil on canvas. 
27 3 U x 35 1 U inches. Signed lower left: Mme Vallayer Coster/1871 . 68.01 A. One of a pair, 
this painting is in its original frame by Etienne-Louis Infroit (1720-1794). The artist executed the 
two canvases during the year of her appointment as Professor of Painting to the Queen, Marie- 
Antoinette. Ex-collections: Marquis Girardot de Marigny; Achille Fould. 



Covered Porringer and Plate. French (Toulouse), 1762. Sil- 
ver. ROBERT VINSAC (active mid-18th century). Ht. of 
bowl with cover 4% inches; diam. of plate 9% inches. 
68.75. 








Tureen and Stand. French, 1783. Silver. JACQUES CHARLES 
MONCENOT (active 1751-1790). Ht. of tureen with cover 
12 7 /a inches; diam. of stand 15 inches. 67.13. 





^SM«KC 









_T9 




V 




Cas/cet. French, 1794-1809. Silver-gilt and gold plate. 
HENRY AUCUSTE. Ht. 8% inches; length 12% inches. 
69.301. 











IEAN ANTOINE HOUDON (1741-1828). French. Benjamin 
Franklin, 1778. Tinted plaster. Ht. without base 1GVi inches. 
Signed: Houdon f. 177(8); Wax seal at rear foot of bust: 
Academ. Royale De Peinture et Sculpt. Houdon Sc. Cift of 
Mr. and Mrs. Roy Rike, Toledo, Ohio, 1969. 69.93. 



GILBERT STUART (1755-1828). American. Commodore 
Oliver Hazard Perry (1785-1819), 1818. Oil on panel. 26% 
x27% inches. 67.140. In 1813 Master Commander Perry 
won his most famous victory over the British fleet on Lake 
Erie for which he was promoted to the rank of Captain and 
awarded the title of Commodore. Several years later, in 
1818, the General Assembly of Rhode Island, Perry's native 
state, commissioned Gilbert Stuart to paint this portrait as 
an ''expression of esteem for the brilliant achievements of 
Commodore Oliver H. Perry." Perry is here represented 
as a Captain. Behind him rises billowing smoke, probably 
referring to his most famous battle. The picture has been 
in the family of Commodore Perry and his descendants 
until 1967. 





RALPH EARL (1751-1801). American. The Taylor Children. 1796. Oil on canvas. 48 x 48V 2 inches. Signed and dated lower 
left: R. Earl I pinxtl 17 96. 65.1. This direct, effectively presented portrait of the children (from left to right: John, Char- 
lotte, Nathaniel) of Col. and Mrs. Nathanial Taylor of New Milford, Connecticut, is a fine example of American 
Colonial painting. 




EDWARD LEAR (1812-1888). English. Venosa. Oil on can- 
vas. 19%x32% inches. Signed lower right: E. Lear 1852/ 
Venosa. 69.340. Best known as the author and illustrator of 
A Book of Nonsense, Lear also created paintings and water- 
colors which carefully record his extensive travels in Italy, 
the Near East, and India. 



Compote. Free blown Aurene glass. American, early 20th 
century. Ht. 8% inches; diam. 8% inches. Gift of Mrs. James 
A. Nicholson, Toledo, Ohio, 7966. 66.739. 






NARCISSE VIRGILE DIAZ DE LA PEN A (1808-1876). French. 
Woodland Scene near Fontainebleau. About 1868. Oil on 
panel. 12% x 76 inches. Signed lower left: N. Diaz. Gift of 
Howard P. DeVilbiss, Toledo, Ohio, and Mrs. Virginia 
DeVilbiss Gordon, Rochester, New York, 1966. 66.138. 



Cabinet. Burled walnut with ebonized trim and bronzed 
oval panel. American, about 1860-1875. Ht. 49 inches; 
width 52 inches. Gift of Mr. and Mrs. Lawrence Bell, 
Toledo, Ohio, 1969. 69.305. 




L. to R. Vase. Blown, cased cameo-cut glass with padded daffodil blossoms. EMILE CALLE factory. French, about 
1904-1913. Ht. 10 3 /s inches. Signed: Galle with star. 69.257. Balustre Vase. Blown with fumed iridescent exterior and 
interior surface. American, about 1915-1920. LOUIS COMFORT TIFFANY (1848-1933). Ht. 2074 inches. Signed: L C. 
Tiffany/Favrile/591 5K. 69.260. Vase. Blown translucent red glass, "Egyptian" decoration at neck. American, about 1915- 
1925. LOUIS COMFORT TIFFANY (1848-1933). Ht. 7% inches. Signed: L. C. Tiffany I Favrile/ 69.266. Vase. Pressed acid- 
finished and polished glass in a grasshopped and grass pattern. French, about 1920-1925. RENE LALIQUE (1860-1945). 
Ht. 11 inches. Signed: R. Lalique. 69.272. The above four pieces are Gifts of the W. W. Knight Heirs, 1969. Pitcher. Blown 
and cut, amberina. American, New England Glass Company, about 1883-1888. Ht. 12 3 /a inches. Gift of Miss Dorothy-Lee 
Jones, Douglas Hill, Maine, 1967. 67.14. 



Punch Bowl and Twenty-four Cups. Free blown clear glass 
with applied lily pad prints, engraving. American, about 1931- 
1935. A. DOUGLAS NASH (about 1885-1945). Ht. of bowl 7% 
inches; diam. 13Ve inches; Ht. of cups 3 inches; diam. iVi 
inches. Gift of Mrs. Carl R. Megowen, Toledo, Ohio, in mem- 
ory of Carl R. Megowen, 1968. 68.59. 



C 








Table. Oak with ebony, pewter, and mother-of-pearl inlay. 
Dutch, after 1911. Ht. 30% inches; length 55 inches. 
Marked: H.F.JANNSSEN & ZONENl Amsterdam/ Hoflever- 
ancier. 67.156. This table is an example of jugendstijl de- 
sign, a Dutch interpretation of the Art Nouveau style. 




ELLSWORTH KELLY 0923- ). American. Blue, Orange, 
Lime. Colored lithograph. 35Yi x 23% inches. Signed: Kelly 
73/75. Museum Purchase, 7967. 67.748. 




ADOLPH GOTTLIEB (1903- ). American. Black Forms 
on Lemon Ground. Serigraph. 20Vi x 28% inches. Signed: 
Adolf Gottlieb 7966 24/50. Museum Purchase, 7967. 
67.749. 





o 

Q 

— I 

O 

O 



en 



^O 


^ 


Uj 


• 


OC 


LO 


^ 


LU 


^n 


z 


<C 


5 


Uj 


—J 

LU 


c£ 




h- 


^ 



H 

o 2 

^ o 
DIE 
£0 

id 

Oo 
Q 1- 

LU 
—I CO 

2° 

LU x 

I o 

h- CO